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Gofriller Cello Manual PDF
Gofriller Cello Manual PDF
The information in this document is subject to change without notice and does not represent a
commitment on the part of Garritan Corporation or on the part of Native Instruments GmBH. No part
of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose,
without prior written permission by Garritan Corporation or Native Instruments.
Use of the Gofriller Solo Cello library and the contents herein are subject to the terms and conditions of
the license agreement distributed with the library. You should carefully read the license agreement before
using this product. The sounds presented in the Gofriller Solo Cello library are protected by copyright and
cannot be distributed, whether modied or unmodied. This Gofriller Solo Cello library, Users Guide and
articulation lists contained herein are also covered by copyright. Garritan is a trademark of Garritan Corp.
KONTAKT is a trademark of Native Instruments GmbH. The information contained herein may change
without notice and does not represent a commitment on the part of Garritan Corporation.
GARRITAN CORP.
P.O. Box 400, Orcas, WA 98280 USA
Tel: (360) 376-5766
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WHY PLAY A PROGRAM WHEN YOU CAN PLAY AN INSTRUMENT? - BY CRAIG ANDERTON
Few, if any, would deny that acoustic instruments are the standard by which electronic instruments are
judged. But why? And what does this have to do with the Gofriller Cello?
Acoustic instruments oer a unique level of expressiveness because their design allows for interesting
techniques (articulations) the ability of the player to create nuanced changes in the sound. Think of
a drum: Theres a dierent sound quality depending on whether you hit the center or rim of the drum.
The angle of a pick on a guitar string changes the sound, and you can blow into a saxophone to the
point where you overdrive the reed. These techniques are like instructions that tell the instrument
how to respond.
Stringed instruments allow for huge variations in playing techniques so many, in fact, they have
names: marcato, pizzicato, arco, and so on. Each represents a unique way the player interacts with the
instrument to create a particular sound. Couple these playing articulations with dynamics, vibrato,
and all the elements of the acoustic instruments repertoire, and the result is a supremely expressive
instrument.
TECHNOLOGYS ANSWER:
With sample-based instruments, technology was able to pretty much nail the sound of an acoustic
instrument, but with one major limitation: A sample is the sonic equivalent of a photograph, not a
movie. It essentially captures the sound of an instrument at a specic point in time, not a sound with
a variety of expressive gestures. So you could capture, for example, a cello note with vibrato; but if you
wanted to sample a cello note without vibrato, that would require a dierent sample. And if you added
vibrato electronically as a workaround, it never had the same organic, owing quality of human-created
vibrato.
Samplers have traditionally handled dynamics by recording an instrument at several dierent levels,
layering them on a keyboard, then tying each layer to the keyboards velocity control signals so that
hitting a key harder plays back a more dynamic sample. Many string libraries even include libraries of
articulations, which you can insert to increase the expressive options.
But these are sort of like freeze-dried articulations because they take just one part of technique and
apply it to the sound. Real technique is a smooth continuum of playing that coaxes emotion out of the
instrument. In a way, samplers require a player to be more of a programmer, and know what sound is
expected in advance so its various articulations can be available when needed. Its annoying to search
through a library of techniques, look for a specic articulation, and apply it rather than just play it. A
real player just plays, by following the instructions on a score and performing in real time.
So its no wonder that some people nd the sound of electronic instruments vaguely unsatisfying,
despite their reasonably realistic sound; they rarely allow the same freedom of expressiveness as acoustic
instruments. Fortunately, it doesnt have to be that way.
A Complete Guide to the Gofriller Solo Cello
CRAIG ANDERTON
License Agreement
Please read the terms of the following software licensing agreement before using this sample collection.
By installing and loading this product you acknowledge that you have read this license agreement,
understand the agreement and agree to its terms and conditions. If you do not agree to these terms, do
not install or use the sounds contained herein. This is the complete agreement between you and Garritan
Corporation that supersedes any other representations or prior agreements, whether oral or in writing.
An important thing to understand is that YOU ARE OBTAINING A LICENSE FOR YOUR USE ONLY
THEY DO NOT BELONG TO YOU. The sounds, samples and programming in the Gofriller Solo Cello
library remain the sole property of Garritan Corporation and are licensed (not sold) to you.
The RECOMMENDED REQUIREMENTS for the Sound Library is 1 GB of free hard disk space,
DVD Drive, Windows XP (Pentium 4 /Athlon 2.4+ GHz or better is recommended), Mac OS 10.2.8
or higher (2.0 GHz or better is the minimum) G5 2+ GHz or better is recommended. Standard
MIDI controllers, i.e. a Pitch wheel, a Mod Wheel, Channel Aftertouch and a Sustain Pedal. An
EXPRESSION PEDAL is also required. To play the cello, we recommend a minimum of 1 GB of
RAM. Your system must meet or exceed these requirements. Please also observe the system requirements
of your host application.
QUALITY
One of the very nest of cellos was sampled; a hand-made Gofriller built nearly 300 years ago.
Gofriller instruments are world renown for their extraordinary, unique sound.
High-resolution 24bit state-of-the-art recording for the utmost accuracy and audio delity.
INNOVATION
PLAYABILITY
Unique virtuosity and versatility - Advanced programming makes this a revolutionary and truly
playable library that is responsive to the player.
Real-time shaping of sound providing a virtually innite number of articulations and playing
techniques. Play staccato, arco, trills, tremolo, marcato, martel and much more in real-time.
The amount of musical control is unmatched by any other sample library.
Real-time shaping of dynamics providing a virtually innite number of levels, using real samples,
which retain their original timbre and nuances, instead of a typical single ltered layer that mimics
dierent dynamics.
Real-time control of vibrato. Start from a non-vibrato sample, control when the vibrato starts, add
progressively increasing vibrato, increase the vibrato rate, and/or end with non-vibrato immediately
before the next note.
Key Switching allows for easy and quick selection of various string articulations at the touch of a key.
Release Triggers provide the natural release of the bow and body resonances.
Flexible enough to play phrases with runs, scales, pickups, arpeggios, grace notes, turns, and other
ornaments with individual notes - no pitch-shifting of played passages are necessary.
Compatible Platforms
Kontakt Player 2 runs on the Mac and PC operating systems. It can run as as a standalone or VST or
DXi and RTAS or Audio Unit plugin, and is compatible with virtually all sequencers and hosts. In
addition it can work with some notation programs.
System Requirements
Hard Drive Space: 1 GB of free hard disk space.
Additional Drives: DVD Drive required to install.
Processor & Operating System: On PC, Windows XP, Pentium 4 /Athlon 2.4+ GHz or better
is recommended. On Mac, OS 10.2.8 or higher, G4 2.0 GHz or better including Mac Intel; G5
2+ GHz or faster is recommended. Mac Intel support will be available in an update on the www.
garritan.com website. The Kontakt Player 2 audio engine is designed to make use of the processing
power of your computers CPU.
NOTE: The powerful and complex algorithms of the Kontakt Player2 engine work best on faster CPUs.
RAM: A minimum of 1 GB of RAM is required to play the cello.
Soundcard: A low latency audio card with Asio drivers is required compatible with Kontakt Player
2. The soundcard should allow for a buer size of 256 (optimal) or 512 (less satisfactory but more
latency).
MIDI: A MIDI interface may be required if you are using a MIDI keyboard, another MIDI
controller or a sequencer that requires it. Some keyboards use USB.
KEYBOARD REQUIREMENTS:
A ve, preferably six-octave keyboard, mapped or mappable from C1 to C6 or more.
A mod wheel, mapped to CC #1 (modulation) to control transition from senza vibrato to
con vibrato.
Channel aftertouch, mapped to Aftertouch to control vibrato rate.
A pitch wheel to control pitch.
An expression pedal, mapped to CC#11 (expression) to control crossfading among the
dynamic layers.
A sustain pedal to activate legato with bow change.
IMPORTANT NOTE: Please note that the presence of all the above controllers is a requirement
for the proper functioning of the instrument.
A Complete Guide to the Gofriller Solo Cello
1. Check that your computer meets the minimum requirements to run Kontakt Player 2. Quit all
applications.
2. Insert the DVD into the drive.
3. Use the Windows Explorer (PC) or Apple Finder (Mac) to open the installation DVD if does not
open automatically.
4. Start the Installation Program by double clicking Setup.exe (Windows) or the Kontakt Player OSX
Install icon (Mac). Follow the instructions on the screen to guide you through the installation
procedure.
NOTE: If the VST plug-ins are not visible in the Windows Explorer, select the Show All Files
option. This option is located in the Explorer menu View > Folder Options...on the View
tab below Hidden les. Optionally, you can set up your host programs so that they all use the
same VST plug-ins folder. The VST plug-in will be required if you will use the Garritan Studio
application.
UPDATES
Be sure to check the Native Instruments web site for any possible Kontakt Player 2 updates that have
occurred since the time your software was manufactured. Software is frequently updated and a more
recent version may be available. Library updates may also be available at the www.garritan.com website.
On these websites, you can get the latest updates to the Player and library, access tutorials, obtain
technical support, get special upgrade pricing, and participate in the Garritan and Kontakt forums and
more. An important part of the Library and Kontakt Player installation is the Product Authorization.
After installation, it needs to be registered to make permanent use of the product.
Product Authorization -
NI SERVICE CENTER
To authorize the library, you should use the Native Instruments Service Center application, which
was installed along with the Kontakt Player 2 software. NI SERVICE CENTER is a user-friendly
application that helps you to activate all NI products on your computer in one go. The NI SERVICE
CENTER guides you through the easy-to-follow step by step activation process.
Product Authorization provides full registration and entitles you to make full use of this library and all
related services. You are given a 30-day grace period for each library before registration is required, but it is
recommended that you register as soon as possible. Information on the registration procedure is given below.
After installing the Library and Player, it will run in demo mode (also called a grace period) for 30 days.
When you launch Kontakt Player 2, in the Browser you will see a little caution icon to the left of the
library title. A yellow icon means the library is running in demo mode. After a library has been properly
registered, the caution icon disappears entirely. A red icon means the demo period has expired and the
library can no longer be used until it has been registered. The red icon may also appear if the system
ID of the computer changes due to new hardware components (CPU, motherboard, etc.) If this occurs,
the library will need to be re-registered. You get two installations with your product. Therefore you can
use the library on both a laptop and a desktop, or on two separate computers.
The Update Manager provides access to the latest updates, hotxes and more for your products. You can select
the les you wish to download; view information regarding the update as well as manage all downloads.
11
Splash screen from your Garritan/ Native Instruments product which is in 30-days mode
From the Help menu of the Garritan/Native Instruments product
PC only: In the Windows start menu
From the installation folder, e.g. C:\Program Files\Native Instruments\NI Service Center on
PC and Applications\Native Instruments\NI Service Center on Mac.
PLEASE NOTE: NI Service Center needs Administration rights to be able to activate your
products.
ONLINE OPERATION
This section explains the operation of the NI Service Center if your computer has an internet connection.
Read on in chapter Oine Operation if your computer has no internet connection.
NI LOGIN
Login page: This page allows you to create a new user
account, or to enter an existing user name and password, if
you already have a NI user account. When you create a user
account at Native Instruments, the user name and password
are automatically sent to the e-mail address you entered.
Yes, I already have an NI account: Enter your existing user name
and password here, if you already have an NI user account.
Remember Login: Activate this check box to store the login permanently on your computer. Once it is stored
you do not need to enter it when accessing protected areas of the NI web site from NI Service Center.
Forgot your password? Click this link to receive an e-mail containing a new password. It also allows you to
change your current password.
No, I do not have an NI account: Choose this option, if you have no NI user account. A dialog to enter
your details will open.
PLEASE NOTE: Be sure to use a serial number of a Native Instruments product which has already
been registered in your user prole. For security reasons there is no way to resend your current
password to you. You always need to create a new one in case you have lost your current one.
A Complete Guide to the Gofriller Solo Cello
13
NOTE: Native Instruments uses a secure SSL connection with 128-bit encryption that meets
current security standards to transmit your personal data over the web. Native Instruments will
treat the information you provide condentially. It will be used for registration purposes only
and not be passed on to third parties.
15
SUPPORT INFORMATION
This provides information for Registration and
Technical Support.
For more information about the NI Service
Center, go to www.native-instruments.com.
16
Soundcard Tab
Interface: All of the supported (and installed) audio
interfaces are available in this drop-down list. Select
the desired audio driver (PC: MME, Direct- Sound,
ASIO 2.0; and for MAC: ASIO 2.0 or Core Audio)
from the list. Note: ASIO is recommended.
Sample Rate: Depending on the sound card and
driver you are using, various sample rates are available.
Set the desired sample rate here.
Output Device: Here you can dene which of the
installed audio interfaces should be used for the audio outputs based on the driver selected under Interface.
Input Device: Here you can dene which of the installed audio interfaces should be used for the
audio inputs based on the driver selected under Interface. Note: With some interface types (e.g.
ASIO or Core Audio), the Input Device setting is not available. Instead you can set the inputs for
the chosen driver on the Routing tab.
Output Latency: This box displays the output latency. With some drivers you also get a latency
slider for setting an individual latency for the Kontakt Player 2.
Routing tab
17
In the Routing tab, if you are using a multi-channel sound card, Kontakt Player 2 also allows you
to freely select which channels to use for the output signals.
In the MIDI tab, the two boxes (MIDI inputs and MIDI outputs) display all of the MIDI inputs
and outputs that are correctly installed on your system. Click in the right column to on or o
to activate or deactivate the corresponding MIDI input or output. From this point on, Kontakt
Player 2 sends and receives MIDI on these activated inputs and outputs.
Description
VST
The VST plug-in stands for Virtual Studio Technology and was developed by
Steinberg, the makers of the Cubase family of audio programs. It is also used by
Cakewalk Sonar, Mackie Tracktion, Magix Samplitude, Nuendo, FL Studio and
other sequencers.
DirectX (DX) is Microsofts multimedia plug-in standard for Windows 95, 98,
2000, ME, NT and XP. DirectX plug-ins work only with Windows on a PC. It is
currently used by Cakewalk Sonar, FL Studio, and Sony Vegas
DirectX (DX)
Audio Units
RTAS
18
Windows Mac
The Audio Units (AU) plug-in standard was developed by Apple Inc. for Core
Audio under Mac OS X. Audio Units is becoming the preferred plug-in format
on Mac OSX and is used by Emagic Logic Audio under OS X. It is also used by
Digital Performer 4.11+
RTAS plug-ins (Real Time Audio Suite) are designed to work in the Digidesign
Pro Tools environment. Pro Tools hardware and software are used extensively in
the pro audio and post production communities.
x
x
IMPORTANT NOTE: Please refer to the Support Pages at www.garritan.com for tutorials on how
to use Garritan Libraries with various dierent sequencers and notation programs.
19
Fig. 1 above shows a zoomed view of the waveforms of two dierent samples of the same note. Solo cello,
senza-vibrato, C3 mf & C3 mp, unprocessed. There is no obvious phase coherence between the two.
The problem has been solved using an entirely new processing technique developed by Giorgio
Tommasini known as Harmonic Alignment. This patent-pending approach aligns sound samples.
The samples corresponding to dierent dynamics of the same note are processed in order to temporally
match the phase of all harmonics. This results in a set of sounds timbrically indistinguishable from the
original samples, but that can be played simultaneously with no doubling and no phase artifacts.
20
Fig 2: The Haronically Aligned sounds can morph into each other.
In Fig. 2, after processing with the phase alignment technique; the samples morph into each other
seamlessly with no doubling, phasing or sonic discontinuity. The resulting sound is that of a single
instrument with extraordinary levels of realism and expressiveness while preserving the natural
characteristics of the instrument.
There will be the natural timbre changes while the note is playing in response to a continuous
midi controller, across a virtually infinite number of dynamic levels, ranging from pianissimo
to fortissimo. In addition, the new patent-pending Modal Body Resonance technology,
developed by Giorgio Tommasini & Stefano Lucato, allows for precise vibrato control. This
is the first time any sample-based library has used this technology and is another milestone in
software instruments.
The powerful Native Instruments Kontak Player 2 allows for real time, portamento & legato.A
proprietary midi processor, developed as a Kontakt 2 script, aects in real time all calculations
concerning portamento direction, extent & rate by detecting overlap, timing, and velocity of the note
ow. Sophisticated programming allows for a completely automated portamento and legato in response
to very basic playing techniques.
Real time shaping of articulations is achieved by using a modular sample structure, involving separate
attacks, sustains and release-triggered notes, with individual response to various midi controllers.
All the above solutions have been simultaneously implemented to create this virtuosic instrument, the
Gofriller Solo Cello.
21
The Gofriller Solo instrument fully utilizes all the following elements:
1. The midi processor. The processor acts as an articial intelligence interface between the player
and the sampler, converting simple midi input into a sophisticated series of commands. For
example, a simple note overlap will be converted to a portamento between the previous and the
next overlapping note. The portamento rate and timing are determined by both the pitch interval
and the note-on velocity, varying from full portamento, to partial portamento, to a pure legato
depending on velocities. Additional features are: retriggering mode, automatic activation of mono
or poly mode, based on the time dierence between consecutive notes, partially automated trill
and tremolo mode, automatic vibrato inhibition during portamento and pitchbends, polyphonic
portamento, partially automated (and polyphonic) bow change in sustain mode, transient detuning
on fast dynamic changes, and intelligent release triggered notes. The midi processor simulates the
complex behaviour of a real instrument starting from relatively simple playing techniques.
2. The sampler. Along with the Stradivari Violin, the Gofriller Solo Cello is the only virtual solo
instrument that allows for continuous transition across various dynamics by crossfading solo
samples with no phase artifacts. The samples are pre-processed by a very complex transformation,
which essentially synchronizes the phase of all sustain samples for a note while preserving the
original sound quality. These pre-processed samples are the basis for getting full expression
control.
3. The convolution engine. Convolution is normally used to add room ambience to a sound. With
the Stradivari Violin, which rst applied this technology, the Gofriller Solo Cello is the only
commercially available instrument that makes use of convolution with a specically designed
instrument modal resonance impulse response to recreate realistic vibrato & portamento from
deconvolved senza-vibrato sounds. The harmonic-aligned samples are convolved with the bodys
modal impulse response as the basis for full vibrato control. This latest version features low latency
convolution which results in a much faster, more intuitive response to live playing.
note is playing, exactly as it happens with the real instrument. Real-time shaping of the dynamics with
a virtually innite number of levels is therefore possible, using real samples which retain their original
timbre and nuances, instead of just ltering a single layer to mimic dierent dynamics.
Continuous transition from senza-vibrato to vibrato is also made possible by advanced programming
in addition to convolution with a modal impulse response. The result is a realistic vibrato, where the
onset, and the intensity and rate are under user control. It is thus possible to start from a senza-vibrato
sample, add a progressively increasing amount of vibrato, increase the vibrato rate, and nally end with
a senza-vibrato tail, immediately before the next articulation. Real-time shaping of vibrato is essential
to the expressive sound of a cello.
To achieve the eect of the bow bouncing o the string, release-triggers are used. The midi processor
script controls when they are to be played when they should be stopped or continued, or to reproduce
the behavior of the real instrument.
Separation between attacks and sustain allows for special eects. You can play sharp attacks followed
by pp sustains (like a sforzando), or very soft attacks followed by strong sustains (portato). A large
variety of eects can be obtained, mimicking practically all playing techniques, using a limited choice
of attacks and sustains.
Keyswitch-based articulations give additional expressiveness. One can switch to sordino, sulaltra corda,
tremolo, pizzicato & harmonics pressing a single key. The sustain pedal triggers bow change mode, with
or without portamento and legato.
Becoming a Virtuoso
The very best sampled solo cello library is at your command and you are the virtuoso. This library was
developed with playability in mind. With these captivating samples you can impart vibrato, shape phrases,
direct intensity and instantly direct changes in playing techniques just like a true virtuoso. Achieving a
realistic and commanding performance is a learned skill that requires knowledge of orchestration, string
playing techniques, nuances of the instruments and performance skills. A real virtuoso spends a lifetime
learning their instrument and can make it seem so eortless. As Pablo Casals, one of the most famous
cellists that ever lived, remarked: The most perfect technique is that which is not noticed at all.
With the Gofriller Solo Cello instrument, one should develop a mastery of the performance controllers
on the keyboard. The capabilities of this virtual instrument can be as wide-ranging as your imagination.
As you acquire a mastery of this library, you will develop your own playing style and will feel the
instrument. Try to think like a cellist instead of a keyboardist. With the number of performance choices,
high quality samples and expressive controls available, you can become more creative and explore
uncharted musical dimensions. The most exquisite virtual solo cello is now at your ngertips.
I think its just as important to play new instruments as to play new pieces. The old ones are getting
scarcer and the new ones more and more wonderful.
Yo-Yo-Ma
A Complete Guide to the Gofriller Solo Cello
23
The term bowing refers to the way in which a string player uses the bow. Bowing is responsible for
the length of a tone, its articulation (separate or connected), and its volume (dynamics). Bowing lends
a distinctive character to the sound of the instrument, so much so that some have even described it
as the soul of the instrument. To quote a common saying: The left hand makes the notes, but the right
hand makes the music.
24
The bow is the implement used for playing a stringed instrument and has many rough horsehairs stretched
from one end to the other. When a string player scrapes these across a tense string, the string naturally
vibrates.
Typically, the player moves the bow across the strings in an up and down fashion, hence the terms upbow (starting at the tip and marked V) and down-bow (starting at the handle and marked ). She
or he may draw the entire length of the bow across the string or only a portion, such as near the tip
(point) or the handle (heel or frog).
These and other bow strokes, as well as bowing speed and the amount of pressure applied greatly
shape the sound of the instrument. It takes years of practice for a string player to acquire good bowing
technique. It also takes a certain degree of mastery to play the various bowing choices and to understand
why a certain note should be played up-bow or down-bow, slurred or separated.
The various articulations, bowings, and playing techniques involve some aspect of the parts of a stringed
instrument and/or the bow.
Legato Playing - A beautiful, lyrical and eortless legato passage is one of the hallmarks of stringed
instruments. Legato literally means, smooth and refers to the seamless connection of tones. When
a string performer plays a legato passage, the notes are individually played without exaggerated
attacks, so that one note appears to ow smoothly into the next. With legato phrasing, the sustained
notes are usually played with a single bow stroke (or with bow strokes that do not expose the change
of direction). Legato is often notated with a phrase mark (slur) over or under the melodic passage.
Alternatively, the term legato may appear at the beginning of the passage, particularly if the use of
a slur is too cumbersome.
Dtach Playing - The opposite of legato is where each tone is deliberately separated from the
next, as in the case of dtach articulation. Dtach playing involves a change of bow direction
for each successive note. Dtach means somewhat detached, but without interruption (The
opposite of dtach is where each tone is smoothly connected to the next, as in the case of legato
playing).
Sordino (Muted) - With the mute engaged, a string instruments timbre changes dramatically.
The tone quality of muted strings is dicult to describe, although soft, silky and velvety are
commonly used adjectives. The mute is a small wooden piece (clamp) that dampens the strings near
the bridge. It absorbs some of the vibrations, reducing the strength of the upper partials (overtones)
and thus smoothing out the sound. Sordino is often indicated with the abbreviation Sord or more
fully Con Sordino (with the mute). The marking Senza Sordino (without mute) instructs the
player to remove the mute.
Staccato - Staccato is Italian for separated or detached. Staccato tones have a clearly articulated
attack and are not connected like legato tones. Played on the string, the bow starts and stops on each
successive tone, which results in a clear separation of tones. Staccato is used frequently in rhythmically
charged passages. The notation for staccato is typically a dot or vertical stroke (staccatissimo) above
or below the note.
A Complete Guide to the Gofriller Solo Cello
25
Marcato - Marcato is a pronounced on-the-string bow stroke with a sharp attack. This articulation
is often used in aggressive and emphatic passages and is typically played at louder dynamic levels. In
common practice, the player often uses the down-bow to accent the notes.
Martel (It. Martellato) - Martel, which means hammered, is a short, separated and heavily
accented bow stroke, which remains on the string. Instruments designated Short Martel have a
short attack.
Sforzando (Sforzato, sfz) - Sforzando means forced and denotes playing with an exaggerated accent.
The player usually reads this as an instruction to attack the string with the strongest accent possible.
Spiccato - Spiccato is Italian for clearly articulated and refers to a technique of playing with a
bouncing bow. Some regard it as o-the-string staccato. With this technique, the player bounces
the bow o the string, rather than pulling or pushing the bow across the string. Spiccato is often
used in light, spry and quick passages, as well as in softer dynamic ranges. Nimble ngers and a
exible wrist are required. According to some orchestration pedagogues, spiccato has up-bow and
down-bow versions, called staccato volante and saltando, respectively.
Sautill (It. Saltando) - This advanced technique is essentially spiccato played at a faster tempo, such
that the bow literally springs o the string on its own. Some refer to this articulation as spontaneous
spiccato to reect the apparently spontaneous action of the bow.
Portato (Fr. Lour or Piqu) - Some call this a brush stroke and for good reason. Each note in
a group, which is played under a single on-the-string bow stroke, is slowly pushed and slightly
separated from the others, as if the player was brushing the string. This technique produces a lightly
dragged or drunken eect, which some characterize as a series of sighs. The typical notation of
portato is a dash (tenuto mark) above or below each note with a slur spanning the group of notes,
often at the same pitch.
Pizzicato - Pizzicato is Italian for plucked. A player plucks the strings typically with the esh of the
nger, though for a more metallic eect the ngernail may be used instead. In the score, a change
from bowing to pizzicato is indicated with the abbreviation pizz. The word arco most often
appears after a pizzicato passage to indicate that the player should resume using the bow (arco is
Italian for bow).
Secco Pizzicato (Stopped Pizzicato) - The sound of a secco pizzicato tone is stopped immediately
after the string is plucked to prevent it from sustaining.
Tremolo (Tremolando, trem) - The word tremolo is Italian and means to quiver or to
tremble. Tremolos are divided into two main categoriesbowed and ngered (slurred)and are
subdivided into measured and unmeasured, corresponding to the speed of the tremolo. Bowed
unmeasured tremolo involves moving the bow back and forth on the same note in rapid succession.
The eect sounds as if the player is furiously scrubbing the string with the bow. This technique
sounds shimmering when played pianissimo and agitating at forte. For a lighter or heavier sound,
the player may draw the bow at the point or at the frog, respectively.
26
Trills (Trillo) - Trills involve a rapid alternation of a given tone with its neighboring note. Trills are
usually accomplished with one bow stroke, as most of the trill action is accomplished with the left
hand. It is often indicated by tr, or a long wavy line.
A Half-Step Trill is the alternation between two notes that are a half step apart. A Whole-Step Trill is
the alternation between two notes that are a whole step apart. Trills can be played at various intervals
depending on the skill of the player.
Portamento (Slides) - Portamento is a controlled sliding from one tone to another (literally
carrying). The eect is a continuous change of pitch between the two tones. This technique
is common to strings as players often slide to a note for expressive purposes. The proper use of
portamento can produce virtuosic performances.
Glissando, gliss - Whereas Portamento is the sliding of one note into another target note, glissando
involves sliding the nger along the string of the instrument without an intended target note and
usually over a longer span of notes.
Ricochet (Fr. Jet) - Employing this technique, the player drops the bow on the string, causing the
bow to bounce freely and quickly on the string. Depending on the height or velocity of the drop, the
bow may bounce and rebound three to six times before resting.
Harmonics - The sound of harmonics is signicantly dierent from that of stopped strings. Harmonics
possess a ute-like timbre and sound at times fragile and ethereal. Natural Harmonics correspond to
the natural overtone series of a vibrating object, such as a cello string. Each string has a natural series
of harmonics based on the fundamental pitch of the open string as well as articial harmonics.
Ornaments and Other Playing Techniques - Ornaments are techniques of performance that serve
as a decoration or embellishment to enhance melodic, harmonic or rhythmic interest. All of the
following playing techniques are possible with the Gofriller Solo Cello
Appoggiatura - A temporary replacement of a note by a neighboring note.
Arpeggio - The playing of the notes in a chord in succession, rather than simultaneously.
Mordent - The alternation of a main note with its upper or lower neighboring note.
Turn - An ornament or embellishment consisting of multiple notes, where the neighboring
upper, target note, and lower neighboring notes are played in successive fashion.
Grace Note - A note marked in small type to indicate that a quick additional note(s) is to be
played and its time value is subtracted from the target note.
Coloratura - The use of rapid scales, arpeggios, trills, and the like, in virtuoso fashion.
Double-Stops - Double stopping, although not technically considered an ornament per se,
is a playing technique where two notes are played simultaneously, requiring the player to
draw the bow across two adjacent strings. Double stops work best when they are short and
bowed aggressively.
In the following pages, we will describe how to play many of these techniques.
A Complete Guide to the Gofriller Solo Cello
27
KEYSWITCHES
Keyswitching allows you to quickly and easily change techniques while you are playing. With a simple
touch of a key located on the keyboard below the normal range of the
instruments, you can rapidly switch between dierent playing techniques
on the y without having to stop or load multiple samples. When you press
a key in the Key Switch area, the instrument will change to the desired
mode patch.
All patches initially load using the rst keyswitch as the default (C1: automatic mono legato/polyphonic
mode) and any keyswitch remains active until another keyswitch message is received. Although it may
be tempting to use your mouse to trigger one of the displayed Keyswitches in Kontakt Player 2, it is
seldom recommended. The players graphic representation of keys, wheels, and knobs are primarily
there for convenient testing. It is NOT recommended to use the mouse to trigger a key switch you
want to record to a sequencer track or notation sta the mouse action will not be recorded. When
recording a track or entering notation, use your external MIDI keyboard to record the key switch note
or manually enter the key switch note into your tracks.
The Gofriller instrument is controlled by 12 keyswitches (C1 -B1), according to the following scheme:
C1: Automatic Mono Legato/Polyphonic mode (default mode) uses default attacks (initially
staccato), normal sustains (senza sordino), release triggered notes. The midi script automatically
plays in polyphonic mode (up to 4 notes can be simultaneously played) if the time interval between
key presses is below 20 milliseconds. Polyphonic mode always involves attacks, sustains & release
triggered notes. If the time delay between the start of overlapping notes is above this threshold, the
28
instrument will automatically play in mono mode. In this case the transition between subsequent
notes will be portamento or legato, depending on the note-on velocity of the second note. On low
note-on velocities, you will get slow portamento. On higher note-on velocities, the portamento will
progressively disappear, and the legato eect will take over.
Dierently from the Stradivari Violin, the Gofriller Cello employs retriggering mode, as implemented
in many synthesizers. This means that upon releasing the overlapped note, the previous held note will
be played again. This allows to execute perfect trills with variable amount of portamento, without
the need of a dedicated trillo keyswitch. Trills are played as a real cellist would do, by holding the
main note down, while rhythmically overlapping the trill note.
C#1: Con Sordino. Essentially identical to C1 but with sordino sustains.
D1: Polyphonic mode. Fixed polyphonic mode allows for eects as double stops, chords etc.
D#1: Con Sordino Polyphonic mode.
E1: Staccato Attack. Selects staccato as the default attack. Attack sharpness and intensity are mainly
linked to note-on velocity, and, to a lesser degree, to CC#11.
F1: Marcato Attack. Selects marcato as the default attack. Attack sharpness and intensity are mainly
linked to note-on velocity, and, to a lesser degree, to CC#11.
F#1: Martel Attack. Selects martel as the default attack. Attack sharpness and intensity are mainly
linked to note-on velocity, and, to a lesser degree, to CC#11.
G1: SullAltra Corda (a/k/a Sul Altra Corda.) Selects sullaltra corda samples (played in higher
position on lower strings) as the default sustains. Normal samples, i.e. on a higher string, are
automatically selected when sullaltra corda samples are not available.
G1: SullAltra Corda Polyphonic mode.
A1: Tremolo. Tremolo is obtained by rapidly playing the same note which triggers overlapping
downbow attacks on both note-on and note-o. It can also be used to get fast repeat note passages
with attacks. Sustains are automatically activated when holding a note down for more than 90
milliseconds, which allows automatic switch to mono mode. Repeat tremolos, with automatic
switch to sustain mono mode are feasible as well.
A#1: Pizzicato. Three dynamics, responding to note-on velocity.
B1: Harmonics. This includes natural and articial harmonics for each string. Non-existing
harmonic sounds are muted on the keyboard.
Although structurally very complex, the instrument becomes remarkably easy to play for anyone
familiar with a digital keyboard. Many functions are intuitive, other are easily discovered and mastered.
However, to fully exploit the expressiveness of the Gofriller Solo Cello, one should be aware of
some peculiarities which dierentiate the playing technique from, say, a conventional sample-based
instrument. Remember that you are not going to play any pre-formed sample. If you simply press a key,
without acting on the expression pedal or the modulation wheel, you will probably get just a lifeless
senza vibrato sound with a constant timbre, corresponding to a single dynamic layer. You must play the
Gofriller Solo Cello like a real instrument and impart life by performing with it.
A Complete Guide to the Gofriller Solo Cello
29
GETTING STARTED
1. Activate the C1 keyswitch (default).
2. Set the mod wheel to the minimum level.
3. Play a single note with the expression pedal at the minimum, then gradually push it to its full extent.
4.
5.
6.
7.
8.
You will hear a senza-vibrato pp dynamic rst, gradually morphing into a mp, mf, sound. The
rate of transition across the dynamics will be related to the speed by which you increase the foot
pressure.
Now play the same note gradually moving the mod wheel to its full extent.
You will hear a transition from senza-vibrato to full vibrato.
Now play the same note, add vibrato and apply a progressively increasing pressure (aftertouch)
on the key.
You will hear a progressive increase of vibrato rate.
Repeat step 3, but this time pushing the expression pedal forth and back.
You will hear a senza-vibrato pp dynamic rst, gradually morphing into a sound, then gradually
back to pp.
Repeat steps 4 and 5 pushing forth and back on the mod wheel, then applying an increasing/
decreasing pressure on the key.
You will hear a progressively more intense vibrato morphing with a senza-vibrato, at an increasing/
decreasing vibrato rate.
Now play the same note by acting on all three controllers in a coordinated way.
You will discover that you have gained full control on dynamics and vibrato of the Gofriller Solo Cello.
You will hear just the pure staccato attack with its true release, when the bow bounces o the string.
Now try a dierent eect,
7.
8.
9.
10.
You will hear a portato attack, a very light attack owing into a stronger sustain.
Interesting nuances can be obtained by playing the attacks while acting on the pitchwheel (slight
detuning before the attack starts, rapidly owing into the correct pitch), the modulation wheel (getting
a staccato-vibrato by adding a fast, rapidly increasing vibrato immediately after the attack), and the
expression pedal, taking advantage of the slight detuning occurring on fast CC#11 changes.
The other built-in attacks are marcato, a heavier, longer attack ending on the string. It was sampled
as two dierent takes, three dynamics, for each chromatic note. Most suitable for dramatic eects, it
merges uently into the sustain, with or without vibrato. Select this attack by the F1 keyswitch and
repeat all sequences described above. You will hear a series of short, marcato-like attacks and downbows
with stronger or lighter accent. Again, use the pitchwheel before the attack, and the mod wheel (and
channel aftertouch) immediately after the attack for a virtually endless variety.
Martel (a short, heavily accented attack) is another option. Select this attack by the F#1 keyswitch.
TIP: Either the Staccato, Marcato or Martel attacks will remain in effect until another
attack is selected by the E, F or F keyswitch.
31
You will hear the rst attack and sustain, followed by a smooth portamento to the second note.
Now repeat the above sequence several times, gradually increasing the velocity of the second note. You will hear
a progressively shorter, faster portamento, getting into a true legato at higher velocities.What if you play a third
note while holding down the second one? This will immediately trigger a second portamento/legato towards the
last note played. Thus, portamento & legato are easily obtained by overlapping notes with a time interval of at
least 20 milliseconds. This also means that the Gofriller Cello operates by default in mono mode, that is, only
one note played at the time, and in portamento/legato mode, which means that the attacks will only be played
with the rst note of a sequence. Conversely, if several notes are played simultaneously (within 20 msec), the
instrument will automatically switch to polyphonic mode, and a double (or triple) stop will be played instead.
This will be better described in a next paragraph.
Try the following sequence:
1.
2.
3.
4.
5.
6.
7.
You have performed a sequence: staccato legato staccato legato. In fact, by releasing all keys, you set the
instrument in a staccato mode, that is, the next note will be played with an attack. Overlapping notes sets the
instrument in portamento/legato mode. In the latter mode each incoming note-on velocity determines the
portamento rate and the automatic switch to legato on higher velocities.
TIP: Very realistic glissandi may be obtained by overlapping two notes over a wide interval,
using a low note-on velocity, and interrupting the portamento by releasing all keys before
it reaches the destination note.
TIP: Try this advanced technique for legato/portamento. Immediately before pressing the
overlapped note, add a slight pitchbend in the opposite direction of that of portamento, i.e.
upward portamento -> down pitchbend. Bring the pitchwheel to the reset position during,
or immediately after portamento. This results in a much more realistic effect than simple
legato/portamento with no pitchbend.
BICHORD PORTAMENTO/LEGATO
The Gofriller Cello is the rst sample-based instrument yielding portamento/legato on bichords. This is an
important technique, much used by string players. Two strings are simultaneously played, while the ngers are
sliding from a chord to another. This has been impossible to reproduce so far. Advanced AI techniques are used to
identify the shortest path. The player only needs to simultaneously (within 20 msec) play two notes, hold them
down, and eventually play two dierent notes. This is more easily accomplished by using the sustain pedal.
32
1.
2.
3.
4.
5.
6.
7.
You will hear a bichord, follow by a portamento to the second bichord. The portamento rate will be dependent on
note-on velocities of the second bichord. A series of portamento bichords can be obtained by repeating steps 3 5.
TIP: Portamento/legato on chords is limited to two simultaneous notes. Bichords, indeed.
1.
2.
3.
4.
The result will be that of a mp/mf note played with an attack, followed by a strong bouncing of the bow o the
string, as it happens with the last, accented note of a phrase on the real instrument.
33
BOW-CHANGE EFFECTS
Since the bow has a denite length, no sustain may last forever. A Cello player often changes the direction of the
bow, either for prolonging notes, or for getting a particular (detach) eect.
The bow change eect is reproduced with the Gofriller Solo Cello by using the Sustain Pedal (CC #64).
Try the following:
1.
2.
3.
4.
5.
6.
You will hear the bow change eect. The Midi Processor prolongs the rst note until you retrigger it, in a kind of
legato mode. However, the retriggered note is preceded by a bow change attack, and is slightly and transiently pitchmodulated downwards, mimicking the behavior of the real instrument. Both the intensity of the attack and the
degree of pitch modulation are linked to the Expression Pedal, so they are much more evident at higher dynamics.
As long as you hold down the Sustain Pedal, the instrument will remain in the bowchange mode, and any subsequent
note will be played with the bowchange eect. Releasing the Sustain Pedal will restore the previous mode.
New Bowchange Features:
In the standard version 1.07 of the Stradivari Violin, the bowchange, activated by controller CC#64, is audible on
repeated notes, and at the end of each legato/portamento. However, in real playing, a bowchange may occur either
before or after each legato/portamento. Moreover, slurred legato on the same string may not involve any bowchange
at all. The Gofriller Cello oers greater versatility in this respect. The bowchange is still activated by CC#64. Hovever,
it is audible on repeated notes only. Overlapping notes with CC#64 yields legato/portamento only. It is now up to
the user to add a bow change either before or after any legato/portamento by quick retriggering either the start or end
note. This technique is very easily mastered, and works equally well in real time and with a sequencer.
34
1.
2.
3.
4.
5.
6.
7.
TRILLS (TRILLO)
Dierently from the Stradivari Violin, the Gofriller Cell does not need a dedicated keyswitch to activate trillo mode. This
because retriggering mode has been implemented. Trills are played as a real cellist plays them, holding down the main
note while repeatedly overlapping the trill note. This approach allows for real time exibility in both trill rate and accent,
which would be impossible to achieve using actual trill samples. Any trill interval can be used. Moreover, both the main
and the trill note may be changed during a trillo sequence. The last held note will always work as the main note.
35
TREMOLO (TREMOLANDO)
Keyswitch A1 activates tremolo mode. Tremolo is obtained by rapidly pressing and releasing the note, in a way
conceptually similar to what the cellist does by using a fast to and fro motion of the bow.
This approach allows for real time exibility in both tremolo rate and accent, which would be impossible to
achieve using actual tremolo samples. When the time elapsed between consecutive notes is above a certain
threshold (about 90 milliseconds), the instrument automatically switches to temporary mono/polyphonic mode
analogous to the default C1. This allows you to play multiple tremolos within a legato sequence, without the
need of repeatedly deactivating and reactivating tremolo mode by keyswitching. The instrument will remain in
tremolo mode until a dierent keyswitch is activated.
Try the following sequence:
1.
2.
3.
4.
5.
You will hear a tremolo followed by a sustain note, then a portamento to the second note, nally a tremolo on the
third note. This will be obtained without the need of keyswitching C1 to restore the default portamento/legato
mode.
TIPS:
. Realistic crescendo or decrescendo can be created by acting on the expression pedal
while executing the tremolo.
. Very low tremolo rates cannot be obtained, since the instrument will switch to a
temporary mono/poly mode, and a sustain note will be played instead.
. The sustain pedal is not active on this patch.
PIZZICATO
Keyswitch A#1 activates pizzicato mode. Pizzicato has been chromatically sampled at three dynamics. The patch
responds to note-on velocity, and each note is played until the key is released. Most realistic eects are obtained
by proper use of the pitch and mod wheel.
36
TIPS:
. Dont forget to set the mod wheel to zero for general use. Pizzicato is often used with
no vibrato.
. Pizzicato notes are held as long as the sustain pedal is pressed for easier real time
playing.
HARMONICS
Keyswitch B1 activates harmonics mode. This includes all harmonics for each string.
TIP: Non-existing harmonic sounds are muted on the keyboard.
VIBRATO EFFECTS
Vibrato intensity is linked to the Mod Wheel (cc #1). This means that you may gradually morph from a senzavibrato sound to full vibrato by acting on this controller. The vibrato rate is controlled by Channel Aftertouch.
You may vary the vibrato rate from the basic 5.6 Hz to approximately 9 Hz by progressively increasing the
pressure on any key. You can further modulate vibrato by acting on the Pitchwheel.
You therefore shape the vibrato waveform in real-time by using the mod wheel and aftertouch controllers. You
have to use these controllers in order to get a realistic vibrato. This concept cannot be over-emphasized. In
fact, the vibrato of a real cell is never too steady, neither in depth or frequency, and its waveform is also slightly
variable over time. This can only be mimicked by acting on the above controllers. In this respect, the behavior of
the Gofriller Solo Cello is fundamentally dierent from a conventional library using sampled vibrato.
Try the following sequence:
1.
2.
3.
4.
5.
You will hear a steady vibrato, approximately 5.6 Hz, rather dull and inexpressive. Modify the sequence in the
following way:
1.
2.
3.
4.
5.
6.
You will now hear a much more expressive and realistic vibrato, with variable depth and variable rate. By simultaneously
acting on the expression pedal, you may also change the dynamics during vibrato, adding further expressiveness. A
A Complete Guide to the Gofriller Solo Cello
37
true virtuoso may also slightly move the Pitchwheel at the same time, adding a slight detuning to the vibrato note.
Despite the apparent complexity, mastering these vibrato techniques is essential to mastering the instrument.
NOTE: The default range of vibrato rate will be probably suitable to most needs. There are
circumstances, however, such as the necessity for a slower rate, or an excessive sensitivity of
Aftertouch, where a lower range may be preferable.
TIP: The offset of vibrato rate is linked to cc. If you have a slider that can be mapped to
cc, you may directly control this parameter in real time. The minimum vibrato rate will
range from approximately . to . Hz. You may also easily modify the offset of vibrato
rate by acting on the Vibrato Rate Offset knob in the Script Panel, which reflects and has
the same effect of cc. The default value is
1. Inhibition of vibrato during portamento. Usually, when executing a portamento, a cello player
will not add vibrato. You will notice that the Gofriller Solo Cello behaves in the same way, i.e. the
midi processor automatically switches o vibrato during portamento and restores it to the actual
value of the Mod Wheel immediately thereafter.
2. Inhibition of vibrato during rapid pitch changes. A cello player may choose to maintain vibrato while
slightly detuning a note. However, when performing a more rapid and dened pitch change, vibrato
is usually avoided. The Gofriller Solo Cello exactly reproduces this behavior. You will notice that slow
detuning by the Pitchwheel does not inhibit the ongoing vibrato. More rapid changes will transiently
switch o vibrato, restoring it to the actual value of the Mod Wheel upon stabilization of the pitch.
TIP: You may easily modify the threshold rate for vibrato inhibition by acting on the Pb
Vibr Inhibition Threshld knob in the Script Panel. Values range from . (vibrato inhibition
on any pitchbend change) to (vibrato inhibition is off). The default value is ..
Start using these pitchbend eects to create very expressive sequences:
1.
2.
3.
4.
5.
You should hear a very realistic eect, starting from a rst note with vibrato, a smooth pitchbend/portamento
without vibrato, down to the second note with vibrato.
Try more complex sequences using up and down pitchbends and dierent note intervals. Also try a slight
decrease of the dynamics by pulling back the expression pedal during the pitchbend. Its not too dicult and you
will likely master this technique in a relatively short time.
38
And youre coming close to the basic philosophy of the instrumentcomplete control of pitch, vibrato, portamento
and dynamics in real-time, to eectively reproduce almost any articulation of the real instrument.
CHOICE OF CONTROLLERS
The choice of the controllers was dictated mainly by their general availability on most keyboards, and their
suggested use conforms to the standard practice. The suggested setup may not be the most ecient, but it
turned out to be suitable to most purposes. We report some considerations on the advantages and limitations
of the controllers employed.
A Complete Guide to the Gofriller Solo Cello
39
Expression Pedal: This necessary controller is a relatively inexpensive and intuitive midi controller
of widespread use, especially among live musicians. In its simplest form, its main limitations
consist of a rather slow response and of the fact that it remains in the latest played position. More
advanced pedals may overcome these limitations.
NOTE: Check that your expression pedal has a linear response.
Channel Aftertouch: While available on most keyboards, it is not a very user-friendly
controller and is implemented dierently on dierent keyboards. It may be dicult to apply
a constant pressure of the desired value. It may be also fatiguing on a constant use. While
unsuitable for controlling the vibrato intensity, it proved a reasonable approach for vibrato
rate control.
TIP: If supported by your keyboard, a second expression pedal can be an excellent
alternative. It may be linked to vibrato intensity, while vibrato rate may be controlled
by the modwheel. Yes, youve got to use both feet, but it is exactly what youre doing
when driving a car.
NOTE: Make sure your expression and sustain pedals are connected to the keyboard and
properly mapped to cntrl #11 (expression) and sustain pedal, respectively. And be certain that
your keyboard extends down to C1, and is equipped with both a pitch wheel and mod wheel,
properly mapped to pitch wheel and cc#1 (modulation), respectively.
40
41
The third item (Vibr Rate Rand) sets the amount of random changes of vibrato rate. The default value is 20, and
the allowed range is 0 (no random change, vibrato rate only controlled by aftertouch) to 100 (marked random
changes, probably suitable only for special eects).
By selecting the fourth item (Bow Noise), you set the relative amount of bow noise. The default value is 64, and
the allowed range is 0 to 127. This knob reects and has the same eect of CC#15, as previously described. This
means that bow noise can be controlled in real time for enhanced expressiveness.
The RIGHT COLUMN yields information on the actual mode of operation of the instrument, such as type of
attack, type of sustain, mono or poly mode, type of articulation etc. Default parameters are: Normal, Mono,
Staccato Attack, corresponding to the default C1 Keyswitch.
The upper panel shows the keyswitch-activated mode. By pressing C1 (default) it will show Normal, C#1
Sordino, D1 Normal Poly (polyphonic), D#1 Sordino Poly, G1 Altra Corda, G#1 Altra Corda Poly, A1
Tremolo, A#1 Pizzicato, B1 Harmonics. This is very useful to check if youre playing the desired patch.
The panel below displays the number of simultaneously played note Mono, Poly2, Poly3, Poly4, or the
connection type between overlapping notes: Complete Port, Partial Port, Legato.
The third panel shows the attack type: Staccato Attack (default & selected by E1), Marcato Attack (F1), and
Martel attack (F#1).
The lower panel shows Bow Change upon pressing the Sustain Pedal (CC#64).
TIP: Vibrato rate should be controlled by channel aftertouch. CC was conceived to set
the offset, i.e. the minimum rate, and not as a substitute of channel aftertouch. However,
in case channel aftertouch is not available, CC might still allow for real time control
of vibrato rate.
A WORD OF CAUTION:
Please keep in mind that all of the sustains of the same note have been processed by a very
complex algorithm including deconvolution and phase alignment. Moreover, the instrument has
been properly programmed to maintain phase coherence under any circumstance. Any attempt
to modify either the samples or the programming may easily lead to catastrophic results. Group
ltering will have similar consequences. Thats why we strongly suggest refraining from modifying
the original instrument. This does not apply to the nal sound.which can be ltered, convolved
or processed in any way without any adverse eect on phase coherence. Thus, instrument eects
can be safely and eectively applied to the Gofriller Solo Cello.
42
The Kontakt Player 2 allows you to load and customize the Gofriller Solo Cello sounds to be used for
playback. The Kontakt Player 2 consists of several main parts: the Browser, the Main Control Panel, the
Tabs (to access specialized screens) and the specic controls for the library. This section will familiarize
you with the Kontakt Player interface. It can get a little technical but stay with it.
1. BROWSER
On the left side of the screen is the Browser window
with three tabs. The Browser gives you the capability
to navigate through the library (or libraries), as well
as view engine information and assign automation.
In the screenshot besides, the Browser is opened to
the Libraries tab.
Libraries Tab
The Libraries tab shows the libraries that can be played in the Kontakt Player 2. For each library, there are
Instruments, Multis, and Info menu. These three menus allow you to navigate through the library. Instruments
are the basic patches that are created for you to use and Multis are combinations of various instruments.
If you click on the Instruments button, all instruments will be displayed below in the Browser. If you
click on the arrows just to the right of either button, the contents of the library will appear in an easyto-use hierarchical menu. If you click on the Multis button (especially with other libraries), all Mulits
will be displayed in the Browser.
The Info tab brings up additional information about the library such as Updates, Registration, Forum
and Support. In the submenu under the Libraries tab are a few buttons. There is a refresh button to
refresh the Browser and an eject button to eject an optical disc.
A Complete Guide to the Gofriller Solo Cello
43
NOTE: Kontakt Player 2 is only able to play libraries developed specically for it. Kontakt Player
2 is not able to load general Kontakt patches, nor is it able to import libraries from other formats.
To do these things, you must own the full version of Kontakt 2.
Engine Tab
Clicking on the Engine tab brings up information about how the Kontakt engine is performing. This
information is updated in real-time, so you can watch exactly how it behaves under various conditions
(e.g. high polyphony, high CPU loads, etc.)
Automation Tab
The Automation tab allows you to assign various types of MIDI automation to various knobs within
Kontakt Player 2 either in standalone mode or when using Kontakt Player 2 as a plug-in, select Host
Automation. (See Appendix A MIDI Automation for more information).
2. MAIN CONTROL PANEL
The Kontakt Player 2 main control panel gives you access to several controls and displays which are
global to the program.
The upper four buttons (Browser, Outputs, Keyboard, and MasterKontrol) toggle the visibility of these
four areas of the program.
NOTE: If you are using the standalone version of Kontakt Player 2, you can use the F1-F4 keys
to toggle each of these buttons from the keyboard.
Browser Section:
The Browser has been discussed above; we will now look at the other three areas individually.
Output Section:
When you click the Output button, the Output
window appears at the bottom of the rack.
There are two types of faders: Blue faders that
relate to channel outputs (the number of faders
depends on the number of available outputs),
and four orange faders that control return
from the four send eects. Each fader, output
or aux return, has four eect insert points. The
output channel features, going from left to right
across the top, are:
44
Cong
This is where you congure the output for a number of channels and channel assignments. When you
click on a channels Cong button, a dialog box appears with several elds. You can edit the Channel
Name, but also, the number of audio channels (click on the Audio Channels parameter, then drag it up
or down). Note that you cant specify more audio channels than actually exist.
Each channel shows up in a list. Click on the channels Physical Out eld, and a pop-up menu appears with
all available output. Click on a physical output to assign it to a Kontakt Player 2 virtual output. You can use
the << and >> buttons in the lower left hand corner to automatically go to the next available output.
Keyboard
The Keyboard button displays an onscreen virtual keyboard which features tinted keys, which can be helpful
in auditioning the sounds of the instrument. Keys which have samples mapped on them are tinted blue, and
keyswitch keys are tinted red. Keys which are being played will be shown in real time. You can transpose the
keyboards range within three octaves as well as create pitch bend and Modulation events (MIDI CC 1).
NOTE: Clicking on the graphic keys, moving the mod wheel, etc. in the player will not be recorded
to your sequencer.This must be done from your sequencer tracks or an external keyboard controller.
If you have a MIDI keyboard connected, you may play the samples using your keyboard as well.
45
Master Control
When enabled in the Main Control Panel, this sits right under that panel and provides various
functions.
The tempo knob sets the tempo for tempo-synched eects. If Kontakt Player 2 is used within a host
program, this displays the hosts tempo. The default is 120.00 BPM. There is also a sync button to sync
to incoming tempo information (not visible in the standalone version). You can set the tempo manually
by adjusting the tempo knob, or double-clicking on the tempo eld and type in a new number, or by
tapping a rhythm on the Tap button.
To use the Metronome, click the On button to enable it. The light below the On button ashes with
the tempo, and the control varies the metronome volume.
The Master Tune area defaults to A=440, but can be adjusted with the knob from A=392 to A=493. You
can set a reference pitch, and tune the sample against it. Turn it on with the On button, and use the
knob to set the reference tone level.
Load/Save
The Load/Save menu gives you options for loading and saving instrument and multis, as well as resetting
the entire multi (i.e. clearing the rack). Instruments and multis can be loaded using the Load option,
and can also be loaded by simply dragging and dropping the NKI or NKM le from the desktop.
NOTE: When saving instruments and multis, you are only saving the instrument/multi
denition les, not the individual samples. Each individual sample is encrypted within the
protected monolith le, and the raw samples cannot be extracted. In the Save dialog box, the
patch + samples and monolith options are not available. This is due to the copy protection of the
library; the samples cannot be extracted nor resaved.
There is an option to save the patch with absolute sample
paths enabled or disabled. When you save with absolute
paths enabled, the patch le includes a direct and absolute
link to the location of the encoded samples on your hard
drive. In other words, the absolute path will reference your
hard drive name and the exact subfolders which the
encoded samples are stored. This is the best option to use if you will not be sharing this library among
multiple computers and intend not to move the location of the encoded samples. By doing this, every
time you load one of the user patches, it will instantly and automatically nd the samples.
By disabling the absolute path option, a relative path is used instead. For example, if you save the
instrument in a subfolder which sits alongside the encoded sample les, a relative path will read
something like go up one level in the folder hierarchy and youll nd the encoded samples there.
Relative paths are the best option if you think you may move the samples around. Be sure that the
relative location between the newly saved patch and the encoded samples stays the same in order to
make sure the samples can always be found automatically.
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If a saved patch ever loses track of where its samples are stored, you will be presented with a dialog box
upon load which prompts you to nd the location of the samples. Instruments and multis saved from
within Kontakt Player 2 are accessible through the Browsers User Instruments and User Multis menus,
and can be used by anyone who owns the same library, from within either Kontakt Player 2 or the full
version of Kontakt 2. The instruments cannot be used by a user who does not own the same library.
Options
The Options menu is where you determine overall Kontakt Player 2 preferences. Clicking on this
button opens the Options window, which has ve subcategories.
TAB 1: INTERFACE - Here you make basic adjustments to Kontakt Player 2s layout of Kontakt
and functionality.
Small, Medium & Big Size: The View menu lets you choose one of three sizes for Kontakt Player
2: Small, Mid, and Big. The edit boxes let you specify the size, in pixels, for the size. The width
and height have separate elds; to change a eld, double-click on it and enter the new value.
NOTE: New values will take eect the next time you open Kontakt Player.
Capture Keyboard from Host: Enabling this button catches certain keyboard keys and routes
them to Kontakt Player 2 rather than to the host program. For example, you may want to type
certain things on the keyboard and have them aect Kontakt Player 2 but have no eect on the
host (e.g. you want to name something in Kontakt Player 2 using a letter that happens to be a
keyboard shortcut for the host). Enabling this ensures the keystroke is interpreted by Kontakt
Player 2 but not the host.
Capture Mouse from Host: This is similar to Capture Keyboard from Host, but directs the
Mouse Wheel movements to Kontakt Player 2 instead of the host.
Show Mapping and Keyswitches on Keyboard: This button shades keys on the virtual master
keyboard (along the lower part of the window) to indicate mapping and keyswitching.
Auto-refresh Browser: This option activates the auto updating of the browser. When activated,
the browser automatically detects from the operating system if a folder is changed / created.
Menu Font Size: This drop-down list allows setting the font size bigger for increased legibility, or
smaller to t more items on screen.
TAB 2: AUDIO ENGINE - These settings aect Kontakt Player 2s audio engine.
Default Volume for New Instruments and Volume Reset: Choose between 6dB and 0dB.
CPU Overload Protection: This function will kill voices if the CPU load gets too high. You can
specify how tolerant you want the engine to be.
Multiprocessor Support: Enable this checkbox if you have a computer with more than one
processor to take advantage of the additional CPU power.
Oine Interpolation Quality: The new HQI mode allows you to select among three quality
options when bouncing audio from within a host. Standard corresponds to the old mode,
whereas High and Perfect increase the quality. HQI mode helps you eliminate digital aliasing
A Complete Guide to the Gofriller Solo Cello
47
sounds which become particularly audible when you transpose sounds with signicant high
frequency content upwards. Note that this quality comes with a price in the form of additional
CPU load and thus a lower total voice count.
IMPORTANT: Both modes high and perfect will use more CPU if the transposition is
higher.e.g. if you transpose a sample one, then 2 octaves, the CPU load will double every octave.
So if you transpose your sample many octaves higher, the CPU load might be very high.
Open Audio and MIDI Settings: Click on this button to view audio and MIDI settings that
relate to your audio interface.
TAB 3: HANDLING
Use Computer Keyboard for MIDI Playback: This lets you use your computer keyboard to
trigger Kontakt Player 2 (handy for laptop jockeys on airplanes!). You can also edit the Velocity
value that a key will trigger.
Keyboard Velocity: This species what velocity should be sent when using the computer
keyboard for MIDI playback.
Solo Mode: Choose between Solo-In-Place (only one instrument can be soloed, others will be
muted) and Solo Latch (you can switch several instruments into solo mode).
Browser: Double-Click Loads Instrument: If enabled, double-clicking on a Sample in the
Browser creates a new Instrument, with the sample spanning the entire keyboard range. If you
Shift-Click multiple samples and double-click on the group of Samples, this not only creates a
new Instrument, but also auto-maps the Samples equally across the keyboard.
Browser: Show Files Before Folders: This alters the sorting algorithm of the Browser to show
les before folders.
Default Root Key for New Zones: Samples without root key information will default to this
as their root key.
MIDI Channel Assignment for Loaded Patches: This menu tells Kontakt Player 2 what
MIDI channel you want newly loaded instruments to be assigned to. 1st Free loads up each
subsequent instrument on the rst unused MIDI channel. Omni assigns all instruments to
OMNI (meaning they will receive MIDI on any incoming channel). Keep channels from K 1.x
Patches will allow the patches to load with whatever MIDI channels were saved within older
Kontakt 1 patches.
Installation Base Path: If you change the name of the Kontakt Player 2 folder, certain presets
might not be available anymore. Set the installation path here to the location of the Kontakt
Player 2 folder.
TAB 4: LOAD/IMPORT
Load Instruments/Banks/Multis in Purged Mode (Without Loading Samples into RAM): Reloads
the parameters of Samples that were purged, but without the Sample data itself. See Purge Menu below.
Force-load Pre-2.0 Patches in DFD Mode: This forces the engine to use DFD streaming even
for old patches that were not originally saved with it.
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TAB 5: SEARCH/DB -This screen gives you options to specify what folders or volumes should be used
when using search functions.
Purge Menu
Purge analyzes which samples were used in an arrangement, and removes from RAM any samples
that werent used. Thus, Kontakt Player 2 can handle huge amounts of samples while exhibiting
very low RAM usage. Scoring of large ensembles with many instruments and samples now becomes
manageable.
Purge is available here on a Global level, but is also available on the Instrument level. You would use
Global purge after a song was done, and you wanted to remove all unneeded samples. The Instrument
purge is handy if youve nished a part; you can purge samples for that Instrument alone, thus freeing
up RAM for additional overdubs.
Click on the downward arrow to access the following functions.
Reset Markers: Deletes all tags that mark samples as used.
Update Sample Pool: Unloads unused samples from RAM, loads newly marked Samples in RAM.
Purge All Samples: Unloads all Samples from RAM.
Reload All Samples: Reloads all Samples used in an Instrument.
Load Everything Purged (Without Samples): Reloads the parameters of Samples that were
purged, but without the Sample data itself.
A display for the instrument shows Purge status.
Green: All Samples are loaded.
Orange: Samples have been purged to reduce RAM requirements.
Red: Emptyall Samples are unloaded from RAM.
View Menu
The entire instrument can be re-sized from the View menu.
Choices are Normal, Bigger, and Large. Typically you
will use Large when creating Instruments, and Normal
when everything has been programmed, and youre using
Kontakt Player 2 as a plug-in or stand-alone device. You
can set the window size under Options > Interface.
A Complete Guide to the Gofriller Solo Cello
49
About Screen
An About screen can be accessed by clicking either the Kontakt Player 2 logo in the far upper left corner
of the interface, or the NI logo in the far upper right corner. The About screen contains the specic
version numbers of all components of Kontakt Player 2, as well as design credits and links to web pages
containing updates, support, and more.
Multi Area
The Multi area is the large area on the right side of the Kontakt Player 2. Also referred to as the rack, this
is where all loaded Kontakt Player 2 instruments reside. You can load multis (which are combinations
of instruments) or you can load individual instruments, and they will both appear here. There are a few
buttons in the upper right hand corner that allow you to work with the rack.
The four numerical buttons allow you to switch between four dierent pages of the rack. By using these,
its possible to load up to 64 dierent instruments at once. The Aux button is a toggle switch to show
or hide the aux send faders for each instrument.
Instrument views
1. PERFORMANCE VIEW
The performance view shows a custom panel which allows you to alter specic characteristics of the
instrument. You can view this panel by clicking on the G icon immediately below the gear icon in
the upper left hand corner.
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In the Gofriller interface there are various controls. Theres a knob for tuning, Vibrato Rate, Vibrato
Inhibition on-Pitchbend Threshold and other controls. These will be discussed in a later section of this
manual.
Instrument maximized view is also available. An instrument in maximized view shows additional details about
the instrument, such as output settings, MIDI channel, polyphony, a memory meter, and the purge.
Clicking on the gear icon itself brings up the Instrument Options window, which will be discussed below.
Instrument Options
1. INSTRUMENT TAB
Voice Stealing Mode: Choose from:
1.
2.
3.
4.
5.
Kill any (the algorithm decides which is the best one to steal);
Kill Oldest (oldest note still sounding);
Kill Newest (most recently played note);
Kill Highest (highest-pitched note);
Kill Lowest (lowest-pitched note)
Voice Stealing Fadeout Time: Sets how long a stolen voice will fade out before it disappears,
from 0 to 1000ms. This may cause the number of voices to temporarily exceed the maximum
amount of polyphony specied.
Key Switch Default Key: This is the rst key that is activated when you load this instrument
A Complete Guide to the Gofriller Solo Cello
51
Controller Tab
MIDI Controller #64: This drop-down menu determines how Kontakt Player 2 responds to
MIDI Controller #64, which defaults to controlling the sustain pedal. Here are your options.
1. Sustain Pedal and Controller: Kontakt Player 2 will respond to a switched (on-o) or
continuous controller (values above 64 = sustain on, values 64 or under = sustain o).
2. Sustain Pedal without Controller: Kontakt Player 2 will recognize only a switched controller.
3. Controller Only: Kontakt Player 2 will recognize only a continuous controller.
Accept All Notes O/All Sounds O: This option will lter All Notes O and All Sounds O
messages, which some older controllers send by default.
Accept Standard Controllers for Volume and Pan: This option will automatically cause each
instrument to automatically respond to CC#7 for volume and CC#10 for pan.
MIDI Controller #7 (Volume) Range: Using this dropdown menu, you can adjust the
minimum and maximum values that incoming MIDI CC#7 will translate to when controlling
the volume of an instrument.
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Info Tab
Instrument Icon: Choose an Instruments identifying icon.
Instrument Info: A notepad for the Instrument, possibly including copyright information,
helpful tips, etc.
Instrument Categories: Choose an Instrument category. Being able to search on this can help
considerably with database searches.
Author: Information on the samples creator. This is limited to 8 characters, so longer descriptions
can go in the Info box.
Getting Help
The rst place to look for a solution to any problem you may be experiencing is in this manual. Please
read the manual before contacting support. Next, check any readme les which contain important
information and all last minute changes that havent been available when printing this guide.
IMPORTANT: For support for the Native Instruments Kontakt Player 2, please contact:
support@native-instruments.com or Native Instruments Tech Support at: (323) 467-2693 (US)
or +49-3061103520 (EU).
If you cant nd a solution to your problem by any of the above methods, please email us at support@
garritan.com. The best way to get the help you need is by giving us plenty of information about the
problem you are having and your computer details. We do ask you to read this guide thoroughly and
exhaust the other avenues of support before contacting us.
REGARDING THIRD PARTY CUSTOMER SERVICE: Please do not call Garritan Libraries
for technical support regarding Kontakt Player 2 or any other third-party application or program.
All Kontakt Player 2 support issues are handled by Native Instruments. Please contact the
respective companies for support on their applications.
The Gofriller Solo Cello is a dynamic library that is evolving and growing. Please check the support area
of our website at www.garritan.com for the latest up-to-date information, FAQs, helpful hints, notation
les, troubleshooting advice, tips and techniques, plug-ins, special programming, informative links and
many tutorials. An excellent resource is the support forums at www.garritan.com/forum.html.
FOR THE LATEST please visit our website at www.garritan.com.
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Giorgio Tommasini, born in Milano, 1947. He played guitar and bass in various groups of
the fabulous Sixties. In 1972 he obtained a degree in
Medicine & Surgery at the Milano University magna
cum laude, and subsequently got specializations in
Cardiology and Geriatric Medicine. He worked in several
hospitals as a clinician and founded and was responsible
for three dierent Cardiac Catheterization Laboratories.
In 1996 he created and directed a Cardiovascular
Division of a 400 bed hospital. He was actively involved
in research on ischemic heart disease, writing more than
150 peer-reviewed scientic papers and presentations at
international meetings. He was one of the rst to apply
computers in Cardiology, developed new concepts,
discoveries and patents in the eld of coronary ow
measurements, new indices of myocardial ischemia and
automatic quantication of coronary stenoses.
In 1980 developed a novel scheme of therapy for acute
myocardial infarction that now belongs, at least in
part, to current good medical practice. In 1992 he invented a new, panoramic approach to
coronary angiography that was subsequently adopted by Philips and other medical X-ray groups.
Giorgio became interested in samplers to get accompaniment for his piano playing in 1986.
Very unsatised by the lack of expressiveness of all available sample-based instruments, he began
to think of methods to overcome this limitation. The phase alignment technique, now patentpending, was the rst result of this new research in an entirely dierent eld. For the rst time
it was possible to crossfade dierent dynamics with no phase artifact. The development of a
controlled vibrato technique was the next step. It was now feasible to crossfade from senza vibrato
to vibrato across several dynamics. New research on determination of modal resonances and the
impulse response of an instrument by analysis of pitched sounds, and application to the sysnthesis
of portamento & vibrato with samplers (now patent-pending) eventually resulted in a drastic
renement of the method.
A Complete Guide to the Gofriller Solo Cello
55
Stefano Lucato,
Gary Garritan
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Acknowledgements
Producing the Gofriller Solo Cello would not have been possible without the combined
help, talent and support of many extraordinary people. I am grateful to those who have
contributed and would like to thank them all.
I am extremely grateful to Rolf Gjelsten who played the Gofriller Cello in this library.
A special thanks to Sigbritt Ekstrm (Giorgios wonderful wife, for her magic support
to the whole enterprise) and thanks to Gianni Nuzzi (music producer, for his precious
contribution with the video demo and many other things).
Thanks to James Mireau for graphic design and cover art. And also thanks to the beta
testers and demo makers, especially Robert Davis, Jerry Wickham, David Hearn, Nickie
Katharina Fnshauge, James Ortner, Joe Cavanaugh, Fabio Vicentini, and Francesco
Marchetti. Thanks also to Tom Hopkins and Matthew Olson.
Thanks to Mark Simon and David Burnett, for hosting the Garritan Forums on Northern
Sounds to exchange ideas and support one another.
A special thanks to Daniel Haver, Martin Jann, Frank Etling, Dan Santucci, Julian
Ringel and everyone at Native Instruments for developing the fantastic sample engine
that powers the Gofriller Solo Cello.
And a big thank you to Wendy Carlos for her enormous help.
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Want More?
Do you want more instruments to add to your virtual
ensemble or orchestra? The Stradivari Solo Violin 2.0
is also available. Based on the same technology as the
Gofriller, the Stradivari Solo Violin is the most expressive
and virtuosic virtual violin available. Soon other stringed
instruments will be available.
For an entire orchestra you may want to consider Personal
Orchestra. For Jazz and Big Band there is the Garritan
Jazz & Big Band library; and the Garritan Marching
Band library for marching and concert bands.
Please be sure to check all of our latest soundware at:
www.garritan.com
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